Posts Tagged ‘Artsploitation Films’

Scorching the Retinas – We

Setting the Retinas upon Another Artsploitation Feature

We (2018)
The Netherlands

Artspolitation - We

Writer/Director – Rene Eller (based on the novel “Wij” by Elvis Peeters)
Runtime – 100 minutes
Pragmatic Pictures
NL Film funds Production Incentive
VAF Film

Faced with an email with the words “controversial”, “European” (which could possibly mean subtitles; admittedly my weakness), heavily edited for general consumption (I’m paraphrasing here) and “bored teenagers” plastered across it, I’ll admit my attention grew to rabid heights. Strange then that this isn’t a feature described as drenched in grue, brimming over with head kicks or exhibiting an overall nature which most would deem bizarre, for wont of a better term. Rather this, if I’m to believe the accompanying text, is a film which showcases eight bored teens and the antics they get up to during a long summer. Now, I can only imagine what this might entail. Having once been a teenager myself my mind races with all the uncomfortable occurrences, embarrassing situations, strange emotions and changes my own form went through, not to mention the myriad of (lets just call them) “naughty” thoughts which would take up residence in my skull often over-riding those, which looking back, made considerably more sense. It’s an interesting couple of years, for most involved, to state the least. And I have children, one of which is around the age of those showcased within this feature so with that which I already know in mind, and the memory of that which I got up to as a “frustrated lad”, let’s just say I can’t have a fence around my property high enough or security trained well enough. But, that’s enough about me what about the feature at hand?

We commences in a small town in the picturesque countryside on the Belgium/Dutch border. It proceeds to introduce the main players through a reflective narrative; a collective of eight privileged teens each with their own personality, some easier to read than others and others infinitely more perplexing. Everything appears innocent enough, in a Stand by Me or The Goonies sense. But the wholesome family entertainment values are soon brought to an abrupt halt as the cast prove themselves to be far removed from that which traditional celluloid would want the viewer to believe.

alf cake

Because every review needs Alf!

Interactions turn from playful to jaded in the blink of an eye but without the batting of. An impromptu game of “guess what this is” appears ‘everyday’, it seriously is, until one sees the context and parameters of said game, the ease and unabashed nature of how the victor becomes triumphant and how it progresses from its innocent enough origins (which really aren’t) to blatantly off the deep-end in an instant. This is one of the earliest indicators of how We might progress, shocking of that there’s no doubt (these are kids!) but depicted in such a ‘laissez faire’ manner as to highlight the anything goes/zero ramification/responsibility attitudes of those involved. Sure, there’s stereotypes of ‘European’ but this takes the proverbial cake!

It’s at this point that many might have already tuned out and turned away, and I can honestly see why and how they might make this decision. This however is still early on; the films aura becomes cloudier in wanton abandon as it reaches its climax (please excuse the pun in this context) and in doing so showcases a few of the main characters, their decisions, the “Manson-esque” driving force behind their downward spiral, back story and possible reasoning as to why they might be the way they are (?) Outrageous carefree antics transform into illegal pursuit; prostitution, blackmail and an online presence. However, even this isn’t enough for one of the attendees. She demands “it” get bigger still in her pursuit of the perfect reality piece d’art, else she’s out! It isn’t enough that the collective has a lurid website and that they’re spending all kinds of silly cash on whatever takes their fancy at the moment, they yearn for something more, something to ‘up the ante’.

Even with the untimely death of a close friend (a key player in the groups activities), the details of which the film doesn’t divulge until later, the group carry on, even enlisting others to join in on the “fun”. The landscape turns excessively darker and more sinister in tone as the key players experience a mixed bag of emotions, internal struggles and find their own ways to cope with strange new scenarios, and (shock horror) even responsibility and the ramifications of their actions as the film nears its eventual finale. But it’s true what ‘they’ say a small community soon finds a way to uncover all the secrets therein and secrets begin to unwind and unravel at an alarming rate.


Purely because pictures of snow covered roads are boring

We is a feature which is at times understandably difficult to watch, especially for parents with children of around the same age as those depicted; the mind reels, but it remains fascinating throughout whether it is in fact a depiction of “millennials” (which is the common conception) or merely a group of bored kids with zero supervision within surroundings devoid of excitement, and an air of what harm could possibly come from their actions? Unflinching in its approach, bolstered by top-notch, all-in, acting and quick to shock based on the fact that the cast is on initial appearance seemingly as innocent as unplowed snow (whatever that in fact means. I’m sure there’s a pun in there someplace) We takes the viewer to plateaus they might never have imagined and may well be unprepared for, although the tip-off is the disclaimer on the movies ‘box’ (and the fact that it is distributed by none other than the open-minded, censorship-be-damned, folks at Artsploitation). Obviously, many have added misleading blurbs to garner attention and boost sales (I can name a list a mile long off the top of my head as to films which have promised only to have left me miserably disappointed) however this is the real deal.

We takes the viewer on a journey across a terrain that’s bumpy at its best, visually scarring in instances, horrifying in others and a destination which might make one wary about sharing the street, let alone taking out any agreements, with a group of teens. But I won’t ruin it, this is a stunning and undeniably harrowing, experience you have to immerse yourself within with only the spoilers the films synopsis willingly provides. In essence this is a film I enjoyed more than I thought I would though will have a hard time describing without feeling like an utter creep who has just watched something others might not be able to appreciate based on my spoken words (what say I try to describe it better using text) alone …”Yea, it has naked teens in it they have sex and, uhhh… I’ll shut up now before you call the authorities”.

Kids film

Similar in part to outings by Lars Vin Trier, Trainspotting, Life and Death of a Pornogang and KIDS this is a film sure to spurn a myriad of trembling pens to paper, and outraged digits to keyboards in offense as its presence continues to ignite screens on a global basis.

A varied Pop/Techno/70’s soundtrack serves as a hypnotic background to the deviant tableaus on offer and the myriad of emotions bubbling beneath the thin veneer of normalcy on offer, at times. And is far from what one might expect. Kudos to the creative team behind this in their choices rather than the simpler option of utilizing tunes which would have been easier to implement and are undeniably more recognizable.

Plucked from the Artsploitation website “RENE ELLER is a Dutch director and producer. He started working as a casting director for television and commercials. After that Eller started to make an international name for himself, first as music video director and later as the founder of Czar, which grew into one of the most successful commercial production companies in the world. Since a couple of years Eller has fully immersed himself into the world of feature films. We is his feature debut”.

artsploiatation film logo

We is available both cut and uncut on DVD and Blu ray here

Comments, suggestions, recommendations? Feel free to drop me a line.

Your slave to cinema in many of its extreme guises,


Scorching the Retinas – Rondo – worthy of the title of American Grindhouse? A Cult Gem or merely another forgettable Indy Feature?


Rondo (2017)
Writer/Director – Drew Barnhardt
Runtime – 89 minutes
A Barnhardt Picture
Artsploitation Films

Rondo DVD cover art

Recently the kind folks at Artsploitation Films supplied me with viewing materials the likes of which I’ll admit I usually don’t bother with. Although in this instance based on their stellar record of delivering cinematic gems, I figured why the hell not, give it a shot. Much like my last viewing experience from them, D.I.Y (from Greece) it could also serve to surprise me warranting a few words and perhaps another entry in the dusty little corner of the WWW I like to refer to as a location I place my various ‘droppings’, ponderances and grammatical diatribe-esque rant on all manner of things I have little experience with.  Enough with my B.S onto the matter at hand.

Rondo offers “red hot piping revenge”, sights worthy of “cult status” and a slew of other things stated in a manner to cause more eyeballs to fall upon it, but is this merely hype? It’s happened before and I’ve been left more disappointed than a Frat party entourage without a paddle to utilize. Suffice it to say, I’m here to investigate.

(Teaser Trailer courtesy of Rondo The Movie)

The film’s stylized opening credits give hints as to the films content. A glass of bourbon, next to a gun, opens the scene. The scene plays backwards and shows bullets and cigarettes dropped within the glass causing obvious ruckus and movement, stirring, of said liquid (I would imagine of crystal origins). Alongside text of a Victorian font this hints at a classical, sensible, regal nature hiding perhaps menace, intrigue and nefarious deeds aplenty, or is this just my mind moving ahead of itself and jumping to conclusions.

Rondo opening credits

A still from the opening credits, or close.

From the opening scene it’s obvious that this is a B movie but made with undeniable profession flair. Another element which instantly makes an impact is the films complementary soundtrack. A narration, with a hint of dark humor, accompanies the story excellently and gives a running commentary of Paul, played by Luke Sorge, a returning vet with a mysterious past, a dishonorable discharge to his credit and nights plagued by nightmares resulting from the mysterious circumstances by which he was discharged. Paul, finds himself living with his sister, after suffering a short bout of homelessness, he has rules to follow, a sofa on which to sleep and a ‘bottle’ whose temptation he has to try to ignore.

Finding himself in front of a therapist Paul confronts his demons, though hears some strange advice, a few thoughts on fetishism and receives a prescription which seems more than a little intriguing. Unpredictable dialogue in this scene makes an instant impression and draws the viewer in, the conversation herein is predictably one-sided though not what one would imagine a typical therapist to recommend in the situation. The intrigue level bar is suddenly raised high.

Choosing to ‘fill his Prescription’, which admittedly he finds a little strange, Paul finds himself within the confines of a luxury apartment surrounded by a myriad of personalities and a host.

Rondo yea you can put it anywhere

Yeppers, do as my husband instructs; use me as a dumpster!

An abrupt deadpan commentary, by way of the host Lurdell, portrayed brilliantly by Reggie De Morton (The Mentalist, The Bold and the Beauitiful), on where to place one’s ejaculate comes from out of nowhere, is rather shocking, reminiscent of Guy Ritchie London Gangster series of films (Lock, Stock and Two Smoking Barrels and Snatch) in its delivery and hints at what hopefully transpires into a riotous cinematic experience. “Keep it on the Plastic” is a quote that sticks (to the mind) like pesky white bread to the roof of the mouth in a sandwich experience one hopes to enjoy rather than have stick to their fingertips in a messy exploration one would rather not perform in a public place.

The deadpan delivery continues and the mood of the movie changes; “Anal is of course wonderful, it is of course permitted and is encouraged often”. “A little blood never hurt anybody, but keep it on the plastic.” After vividly describing all of the sexual activities which are permitted (and in fact encouraged) it’s further stated that “Mrs Timm (the “plaything” for wont of a better term) is a lady!”

Entering into this foreign world Paul encounters odd, eccentric types and delves into interactions which leave his mouth agape “fucked six women this week, only had to pay for two!” The movie flows, Paul explores his surroundings some, a pounding of the non- traditional sense takes place and Paul is abruptly sober looking for a way to GTFO and quick! A “pumping” (is that a term cool kids use nowadays?) rave/techno score (?) serves appropriately as the soundtrack to Paul’s exodus.

Rondo Paul

Why did I bother?

And Paul is back to square one. Depressed, drunk and in fear. Calling the authorities leaves Paul feeling worse than he did before, compounded with helplessness, although they did comment it was the best call they’d received in weeks.

Paul has a sudden epiphany (And I’m doing my best not to give too many spoilers away!) perhaps the scenario was a set up. Perhaps Mr. Timm was being cheated upon and Mrs. Timm needed to be shown a lesson in the most blatant, brutal way. He tells his landlord, his sister,  portrayed by the lovely Brenna Otts (Westworld, S.W.A.T) this and she scoffs (perhaps she’s in on it too? After all, it was she who supplied the therapist’s number!)

Rondo-cat n mouse


Enter the crooks. Paul awakes from a dream to be informally introduced to the business end of a crowbar and a cat and mouse scene ensues in which exquisite suspense music makes the tension level close to palpable.

A following scene displaying the chops of the filmmakers, includes the introduction of the police to the crime scene. A sprinkler system berates a window behind the victim’s position and their ‘interrogation’ sounds much like the water hitting the glass, it’s background static, undecipherable between the accumulating thoughts of revenge, grief and something else fighting its way to the surface. The camera moves back and forth, and back again making way for the intrusion of the officer an intrusion in the tangled thought processes of the victim.

scarface chainsaw

An argument exists that there’s an X-rated Scarface  with this scene complete and uncut.

Details are soon made to avenge a wrong, but even the best laid proposals do not always go according to plan. A shocking turn of events transpires into a scene including a bathtub which I’m sure the most hardened of gorehounds among us would’ve liked to have seen included in Scarface. With a queasy shock effect which far surpasses a similar crimson splattered scene in Reservoir Dogs and even one featuring Vinny Jones and a hammer swung expertly with vicious intent. “Honey, be a doll and remove all the batteries from the smoke detectors and open all the windows” adds a little levity and shows the killers to be somewhat relatable as (slightly) normal.

The inclusion of a ‘femme fatale’ is somewhat of a refreshing change, her role one which might not have been initially imagined though her every appearance steals the screen. I’m not going to say who it is (for fear of ruining the film) though I shall mention the actress, Gena Shaw, for the stellar role which she portrays and the way her inclusion and ‘just get down to it’ attitude drastically alters the course of the film when it’s least expected.

irreversible japanese poster

An Irreversible poster from Japan

A later scene incorporates dizzying camera effects for a disoriented feel (bringing to mind the explicit, scarring the cortex cinematic fest which is Irreversible) to bring the viewer that much closer to the tumbled cacophony of thoughts which must be whirling around inside the confines of the victim’s head. Yet another, amongst a myriad of others, displays somewhat of a family gathering with the victim as a centerpiece following a bungled attempt at “turning the tables”.

The films finale is, not surprisingly, claret soaked unflinching in its glory and deliciously slow in its delivery or one could say “execution”. A fitting end which is glaringly O.T.T, vicious and wicked (not to mention up there with the original Robocop for the effective use of squibs, and a great many of them!) making for a feature one won’t soon forget and will be talking about for months to follow. A spin on the traditional revenge thriller, Rondo offers a great deal to enjoy and proves it’s not what you show it’s how you depict it, how you nestle the ‘atrocity’ within the story and the flair with which you pad it with. Showcasing family core values and morals Rondo is a movie one might possibly imagine seeing on a Disney roster, but obviously never will. But best of all the hype is deserved, Rondo is the real deal! And the gauntlet has been thrown – Beat his Tarantino!!




It goes without mentioning, though I shall, that one should catch this at their earliest convenience. Feel free to comment, tell me what you think or even suggest another title I should lay eyes and my ponderings upon.

Rondo will be available on all platforms, to rent and purchase on June 4th 2019.



Scorching the Retinas – Do It Yourself

(a crime comedy from… Greece?)

scorching the retinas header 3

Huh? A crime comedy, is this really still a thing?

(Is this another international gem from Artsploitation Films?)

DIY film

Do It Yourself (2017)
Director/Writer – Dimitris Tsilifonis
Runtime – 97 minutes
View Master Films
Central Athens Films Productions

From reading this features synopsis one might not be that intrigued. A man is held captive in a porn studio whilst trying to clear the name of a gangster wrongfully accused. Well, perhaps certain words in that sentence might spark a little interest. But then one might see a distributers name associated with the release and the interest grows. Artsploitation Films are renowned for putting their name behind many a film which is far from ordinary, and many others would not even give a second glance upon. Take Killer Bunny Thing for example. The title about says it all though doesn’t even allude to the fact that the film and executed premise is one which’ll stay with the viewer for some time to come. Much like another, recent release, by the name of Trauma. Extreme films of this nature and caliber don’t come along too often and I’ll be the first to mention that the hype that precedes it about nails what to expect from the feature itself. Go into this with a strong stomach and a bucket and be prepared, for this one delivers.

Well, would you look at that, I appear to have deviated somewhat, from my intended trajectory.

(courtesy of Odean GR)

The first thing one discovers when watching Do It Yourself (known from now on as merely DIY) apart from the fact that it is subtitled is that it’s based on actual events (which took place on February/15/2015 for those taking studious notes) with the names and faces (obviously) changed to protect the innocent and, it goes without mentioning, the filmmakers from any legal shenanigans which might ensue.

Apparently, let’s just call him, Daniel B (for the likelihood that my keyboard and spellchecking application go on strike during the time it takes me to compose this whilst feverishly reentering quite specific Greek suffix and prefix spellings over and over) has been wrongfully accused of wrongdoing and is suffering a prison term because of his actions. Another, lets just call him Mr. F is at fault or so Daniel B would have our hero Alkis (Vidalis) believe. Daniel B asks that Alkis get back into Mr. F’s good books in order that he may be able to locate the files he needs to clear his name. With that being done he then asks Alkis’ help in making a viral video containing the relevant information for all to see.

alkis viral video

So, what are my lines again?

Sounds like a plan, right? Well, it’s not really that simple. Bursting with double crosses, intrigue and nefarious business dealings it’s obvious that it isn’t going to be, merely, that simple. And Alkis somehow knows this. Strangely he’s allowed himself to be ensnared in a predicament where it’s likely he could only escape in either a body bag or a box (in pretty much the same condition). As it happens Alkis fancies himself as somewhat of a MacGuyver type, true to form he has the skills and the tech know how to something elaborate off. And…I’m not here to spoil it folks. Suffice it to say that DIY is in part a comedy of errors. A crime film in which comedy is the partner to the main star, or the films hero, if you will.  For starters, Alkis is trapped in a compound of sorts in which a myriad of adult movies are produced, edited and distributed. His antics are often set against a vocal soundtrack which includes moaning (which isn’t at all convincing) and the phrases “It’s so big” and “I’m so wet!” (both of which were most probably uttered in the film Jaws of which surprisingly this isn’t a remake of or sequel to).

Alkis’ decisions based on the situation are often questionable but more often than not ‘on the fly’ (though this “fly” certainly doesn’t help his endeavors when he decides that an abrupt plummet from a sixth story window is his most promising course of action). In instances Alkis might have the viewer wondering where his loyalties lie as his actions aren’t quite what one might expect, given the situation he’s in. With this being said however, his choices portray him as one who is unwilling to go with the flow. His actions add depth to his character making him one who can and will fight back against the injustices heaped upon him. Simply put when you can’t trust anyone you can only trust yourself and you’ll attempt, by any means necessary, to bend ‘fate’ to your own advantage.

alkis gun to head

I will not allow this film to be silenced.

Will Alkis live to tell of his exploits, will organized crime syndicates continue to reign supreme? What are the chances that the ‘spill all the beans’ video will become viral before it’s removed, based on community guidelines? I’ll not spoil the fun or the viewing experience though I shall discuss why I believe DIY works where perhaps others of similar likeliness fail.


Similar in part to Raimis’ Intruder (there’s an obscure genre reference for ya’) the camera work is often experimental though not as wildly vertigo inducing as that experienced in Irreversible (another example of celluloid one will need the assistance of bleach to help scrub its lasting effects from their system) but not wholly traditional either. Occasionally POV shots are utilized, where in other instances a shot might be upside down. Another example has the camera, over the course of a minute or so, follow a well-dressed gent to his intended location only to pan up to display him utilizing his shoe as a ‘wake the fuck up’ device. The film sports a stylish air, a no-nonsense approach which is often blunt. Added touches like the display of a cell phone as its operator scrolls through its applications and on-screen assembly instructions as Alkis ponders on how he might disassemble something add to the films allure. The film’s ability to laugh at itself and the genre in which it resides is a fresh take on Hollywood action epics which take themselves too seriously. The gallows humor angle is effective too. An early standout scene shows the resident mafia assassin having troubles maneuvering a body into a vehicle. Later in the film, as Alkis is exploring the spacious confines of his ‘prison’, performance issues in the adult film industry are addressed to riotous effect especially since Alkis is seen clambering around the same scene trying his best not to be seen (it’s ironic).

alkis meets the mob

Shoes are not just for wearing, as the tread marks on the side of your face can attest.

Of all the characters portrayed Alkis, played brilliantly by Konstadinos Aspiotis, is obviously the most prominent. His frenetic mannerisms, problem solving abilities and relatability make scenes with him in them a pleasure to watch. He’s merely a pawn thrust into a game which is, for all intents and purposes, beyond his control. But is it really? He tries his damnedest to change the rules and parameters by which the game is operated and in doing so becomes a likable underdog the viewer wants to root for.

suntan film

Another character which stands out is the resident mafia hit man, Petros, portrayed by a ’George Costanza’ (Seinfeld) type Makis Papadimitriou.  Nonchalantly he follows orders, sans preamble, though finds himself in a spot of bother when his charge suddenly goes missing leading him to frustration and a standout scene in which he must explain his connections and phones pass code with a ball gag affixed to the back of his throat. Its no wonder the same director chose to utilize him after seeing him in another features he was involved with entitled Suntan.


The soundtrack is another element worthy of mentioning. Spanning from traditional passages, which are somewhat folk in their rhythms, through the use of synth and galloping stoner rock it rarely lets up and only adds to the desired aura each scene demands. The part of the soundtrack utilizing a stoner rock feel could have easily been composed by none other than Old Man Wizard (if you haven’t yet, take time out to discover this amazing act, you can thank me later) displaying as it does a familiar retro feel oozing with melody.

blame it all on the sorcery

The album ‘Blame it all on the Sorcery’ by Old Man Wizard

What’s left to mention? If I had the time, I could type till my digits wore down into bloodied nubs, but no one would want to visualize that, or read the resulting diatribe, so I’ll cut this loose here with a parting flourish of words. If you’ve ever wondered how a Greek crime/comedy might feel upon the retinas though have never taken the plunge, I’d suggest giving DIY a shot.

artsploiatation film logo

The kind folks at Artsploitation Films have done it once again, they’ve taken a chance and the risk has paid off. Now if only there were folks brave enough to drop their preconceived notions and/or prejudices to give this a chance (for it rightfully deserves it!) we might in fact get someplace with this whole Indy film thing and start getting the numbers and respect many of the films in the genre warrant.





Snowflake (aka Schneeflockchen) 2017


Director – Adolf J. Kolmerer

Writer – Arn Remmers

Runtime – 110 minutes

Snowflake Pictures Production

Ventaro Films

Movie Stuff Pictures

Lopta Film


Every once in a while, I find myself stumbling across a cinematic affair which is, to be honest, a little different, far from any Hollywood assembly, and that’s worthy of all its cover splattered praise. Then, there’s Snowflake.

I jest.

Snowflake is quite simply a feast for the senses. Broken up into chapters it tells the tale of Javid and Tan, two slacker criminals who are more interested betting on the merits of a kebab and whether it can taste less like it contains “diarrhea sauce” than most anything else.

Set in Berlin “…the burning point of Europe that has fallen into chaos” and based on events in the near future (confused and/or intrigued yet? It’ll make a little more sense later) Snowflake soon finds the pair losing all interest in elephant sized chunk of window meat (huh?) as they find themselves being hunted by a sundry list of nefarious types doing the bidding of Eliana, a recent orphan portrayed brilliantly by Xenia Georgia Assenza (best name ever!).


I didn’t sign up for this. If this degenerates into Cannibal Holocaust waters I’m shredding my contract

Thus far it reads like a handful of other thrillers, and/or revenge films, but add in a slew of other ingredients, including (but not limited to) a man who believes he is God, a pair of killers who don masks, killer contracts with oft hilarious one-liners, an android lovingly referred to as a ‘shit bot’ and it starts to meander away from the herd to stand apart. Toss in the fact that the whole shebang is rather like a film within a film and the interest level explodes like a rocket with a dangerously short fuse.

I’ll explain while attempting to stray from the tempting borders of spoilerville (should I build a wall?) Shortly after “selecting” their newest ride Javid (Reza Brojerdi) and Tan (Erkan Acar) happen upon a tattered script in its backseats foot well. This isn’t too odd. Is it? After a while the pair start to exchange the collected papers and quizzical glances. The script showcases their events from the night before, word-for-word. Even stranger still it predicts what they will say and do next no matter their actions and attempts in performing the opposite.

“This script would make the most retarded movie ever made!”


Stop writing already!

Javid and Tan set out to find those responsible (and change the grisly fate that ‘possibly’ awaits them) and soon introduce themselves, in a hilarious scene, to a dentist. Arnd Remmers (as well as being the actual Writer of this film) is a budding writer and is surprised as they as to the tableau’s which are unfolding, more than anything else because he wrote them.

The movie progresses to display wicked dialogue (SUBS and all) often so well timed I was left in stitches, for example an early exchange including the sale of chairs to enable the purchase of canned ravioli, eternal rapings by elephants in hell and another among many more, a little later, displaying the witty one-liner writing talents of a pair of for hire killers (“There’s a gang-bang in hell and your ass is the main entrance”) lines even Arnold- I’ll-be-back- Schwarzenegger would approve of, maybe. But let us not forget a myriad of scenes one won’t soon be able to forget. One showcases an encounter in a dive bar whereupon a surreal Tarantino/comic book-esque shootout occurs, I’d like to add more details though I fear I will ruin the scene. While another shows the benefits of watching your captured prey squirm in discomfort as it hangs upside-down by its ankles.

upside down

Hi there. Apparently we’re just hangin’ around in a random movie review site. Got a problem with that?

Javid and Tan are whisked into one oddball scenario after another as Arnd is seen secreted away, in darkness mired in writers block, furiously caressing his muse into activity for any indication as to how the narrative might unfold, events which oftentimes transpire drenched in awkward/cliched dialogue (enough so to make even Arnd cringe). I’m sure many will be able to relate witnessing Arnd struggle for direction, dialogue and purpose.

Onward the film rolls in a quite unpredictable but nevertheless pleasing manner.

Before I continue, I must mention a single line which I believe stole the film and deserves inclusion in every TCM (Texas Chainsaw Massacre for those not familiar with such abbreviated lingo)  film be it a rehash or the original; “Why are you carrying that chainsaw?” Again, I’ll refrain from meth-addled gymnastic spoiler shenanigans suffice it to say that fate and karma play a part as too do revenge, retribution and justice. Perhaps this film follows somewhat familiar/traditional parameters after all? I’ll leave that for the viewer to decide. There’s no doubt, however, that Snowflake offers that which most films don’t whilst still bearing an unmistakable familiarity and vibe which oozes appeal. Sporting commendable acting, excellent directing, an intriguing story line which meshes together as the film plays out and intriguing dialogue, be it character interaction or otherwise, that’s often-hilarious Snowflake demands attention, especially, if like me you have a soft spot for movies with a delicious dark edge, varied direction, humor and subtitles.

wake up this is damn good

Wait. Wake up. this is actually pretty decent.

Keep an eye out for this one, it arrived out of the blue to knock me onto my sizable derriere.

Here’s a trailer, as if my words aren’t enough

(courtesy of BD Horror Trailers and Clips)

Thanks again to Artsploitation for supporting the scene, enabling its invaluable growth and tossing me screener materials. Without you, cinema would be a vastly less interesting realm.